東坡黃州詞的時空書寫

Abstract

綜觀北宋詞壇，東坡是數一數二勤於在作品中記錄下「自我真實所在之時空」的作家，這種「留跡」的渴望與書寫，以黃州時期最為鮮明。東坡在黃州本是抱持著避開正統文體的心情以「小詞」抒情，卻意外在詞體中發掘出與自我心靈的相契之處，並在大量的書寫中，對詞的形式與內容進行革新，不僅將寫詩的精神投入到詞的創作中，也將許多詩才有的形式手法或內容題材寫入詞中，展現出「擇體、破體又不失體」的創作自覺，從而也拓寬了詞的時空格局。 從形式上看，東坡黃州時期是從三方面拓展詞體的時空容量與特色：一是填作更多的長調，二是頻繁使用並拉長題序，三則是變化體製，透過聯章的形式，來延展詞的結構與意蘊。「長調」因為篇幅的緣故，拉長了時空書寫可以表達的抒情空間，而「題序」與「聯章」在形式上的擴充，也有異曲同工之妙。但除此之外，「題序」散文化的語言和無限制的篇幅，也創造出更彈性且更個性化的話語空間，能從不同面向表現時空，韻散之間不同的詞情特質，也提升了詞體時空表現的豐富性；而「聯章」連貫的語言形式運用，在延展詞作內容的意蘊之餘，結構形式本身也表現出了時空相銜的特色。 從內容上看，探究東坡黃州詞中的「空間」書寫，我們除了向外考察東坡和黃州空間的關係，也向內挖掘東坡身體姿態與行動在空間中的感知與思考。發現東坡看待黃州，隨著與日俱增的熟悉感與歸屬感，有從「空間─地方─家園」的歷程轉變。此外，東坡與空間具有雙向互動的關係，對於自我在黃州的身體感描寫，更呈現出空間與身體（心靈）一系列動態變化的過程。 探討東坡黃州詞中的「時間」書寫，我們則分別觀察東坡對於客觀或主觀時間的意識與感受。首先發現東坡在時間軸線的書寫上，十分擅長運用「今昔對照」的寫作手法，來表現出更為細膩的情感流動；其次，東坡對於某些時間節點的特別關注與喜好，也透露了這些時間點別具意義；最後，透過東坡大量關於「老」和「夢」的主觀時間書寫，也反映了東坡對於時間匆匆流逝與虛幻無常的本質體悟。 總而言之，本論文兼顧形式與內容的研究，期盼從最能代表東坡在詞體革新的黃州時期，當中的時空書寫作為主題切入探討，希望能藉以此彰顯出東坡在詞體上的承變與詞情特質。

The works of Dong-Po, a Northern-Song-era writer, represent a diligent and authentic documentation of the historical context of his time. His desire to “leave a trace” was most prominent in his Huangzhou period works. During that period, Dong-Po wrote in unconventional ci (i.e., Classical-Chinese lyric poetry) styles to express his emotions and discovered that these styles allowed him to connect better with his works. In his large collection of works, he innovated the form and content of ci by incorporating the spirit, form, style, and content of shi (i.e., classical Chinese poetry) to create ci-based works. This innovation reflected his mindfulness of his choice of style and his ability to break the conventions of the ci style without deviating from its spirit, which in turn widened the spatiotemporal scope of ci. From the perspective of form, Dong-Po expanded the spatiotemporal scope and features of ci during his time in Huangzhou by: (1) writing more changdiao-based works (i.e., long ci), (2) more frequently including longer prefaces in his ci-based works, and (3) diversifying the styles he employed by extending the structure and connotations of ci through linked verses. Long ci, given its longer length relative to conventional ci, provides more room for expressing emotions through spatiotemporal writing. Prefaces and linked verses both expand the form of ci. The prose-like language and unrestricted length of prefaces provide flexibility and help writers to personalize their expressions, allowing them to depict their immediate spatiotemporal context from multiple dimensions. The interactions among the emotional characteristics of rhythmic and prose language also enrich spatiotemporal expressions. In linked verses, the use of connected lines that extend the connotations associated with the content of ci expresses spatiotemporal linkages through its structure and form. For the dimension of content, we investigated the spatial content in the Huangzhou period works of Dong-Po. The investigation involved an examination of the spatial relationship between him and Huangzhou and an exploration of his spatial perception and thoughts relating to his own positions and actions. We discovered that Dong-Po became increasingly familiar with Huangzhou and felt an increasing sense of belonging to the place over time. Consequently, he transitioned from viewing Huangzhou as merely a space to viewing it as a place and, ultimately, as his home. Moreover, Dong-Po’s depiction of his own bodily experience during his time in Huangzhou revealed the bilateral interaction between him and the space and also the dynamic changes in the relationship between the space and his body (mind). The temporal writing in the Huangzhou period works of Dong-Po was investigated by studying how his works reflected his awareness and perception of objective and subjective time. The investigation revealed that he was adept at using contrasts between the past and the present to convey intricate emotional developments in his works, which are set in timelines. His focus on and preferences for specific time points highlight the significance of these time points in his life. Finally, his numerous works themed on “old age” and “dreams” were written on the basis of his subjective perception of time, and they reflect his understanding of the everchanging, illusionary, and uncertain nature of time. In summary, this study addresses both the form and content of the ci written by Dong-Po during his time in Huangzhou, where he peaked with respect to his ability to innovate within the style of ci. The discussion in this study is centered on his spatiotemporal writing, revealing the emotional characteristics of his ci style and the changes it underwent.